In their book Remediation:
Understanding New Media, Jay David Bolter and Richard Grusin define
remediation as ‘the formal logic by which new media fashion prior media forms’.
Far from a modern construct, however, the authors show that remediation has
been an intermittent logic of artistic production from the Middle Ages to the
present day. Remediation offers a particularly apt framework for thinking about
artistic production in the Middle Ages, and one which eschews the dialectic
between originality and reproduction that emerged in later periods. This session
seeks papers that approach medieval art through the lens of remediation, as
well as papers that pursue the avenues of inquiry opened up by conceptual
intersections between pre- and post-print methodologies of visual expression.
How did medieval artists invoke one medium while working in another? What were
the motivations behind and the implications of hypermediacy, or, drawing
attention to the medium itself? How did the structures or design of one medium
come to be cited in another?

Potential topics to be explored include, but are not limited to,
architectural reliquaries and canon tables, skeuomorphic objects, incunables
that retain or allude to features of manuscripts, as well as wall paintings and
sculpture that emulate textiles. Historians of medieval art have been at the
forefront of deploying new technology in both research and the classroom. The
aim of this session is to further this momentum by forging links between
theories inspired by new media and the media of the medieval past.

Organized by L.Bloom, Stanley & Audrey Burton Gallery, University of Leeds; B.Thomas, University of Kent.

This session explores issues of display and
engagement with books, folios, sketchbooks, archives and manuscripts in a
gallery and museum context.

Printed books, sketchbooks, folios of prints, archival materials and
manuscripts are being included in gallery and museum displays with ever-greater
frequency. Indeed, the contributions of the Tate Archive to gallery displays
have been so popular that, in 2013, the Archives will gain its own dedicated
display space for its materials. Parallel to this, there has been renewed
interest in ‘the book’ and book design among contemporary artists; similar
issues of display thus face contemporary art curators as well as historic art
curators.

The display of such materials in a museum context can problematise theories
of the autonomous art object. A challenge is posed to would-be-curators of the
book and similar objects: how to provide access and engagement with these
objects, intended for active – and often intimate-scale – viewing and handling,
while at the same time preserving their oftentimes delicate condition in a
traditional display context? Facsimiles and digitised versions of such material
offer opportunities for more active engagement with these objects, if not with
the ‘originals’, but what constitutes the ‘authenticity’ of these types of
objects? Does the digitisation and reproduction of such objects for display
purposes detract from the original objects, or can they enhance engagement with
the originals themselves? Does the fact that these objects are even reproduced
in other formats contribute to the ‘aura’ and profile of the original objects
themselves?

The
Museums & Exhibitions Group represents a wide range of practitioners,
including art historians, curators and artists, and invites a similarly wide
range of responses in considering the exhibition of these materials – from all
eras and cultures – in the gallery/museum space.

lunes, 29 de octubre de 2012

How did women of all social classes get access to books as
their owners and readers? This final lecture will examine a variety of
means through which women could gain possession of books, including
commissions of manuscripts, purchases, gifts and inheritance, and
borrowing from other members of their communities.

Brian Richardson is Professor of Italian Language at the University of Leeds. His publications include Print Culture in Renaissance Italy: The Editor and the Vernacular Text, 1470-1600 (1994), Printing, Writers and Readers in Renaissance Italy (1999), Manuscript Culture in Renaissance Italy
(2009) and editions of 16th-century texts on Italian linguistics. He is
currently leading a project on oral culture in relation to manuscript
and print in early modern Italy.

sábado, 27 de octubre de 2012

CERL
seeks to share resources and expertise between research libraries with a
view to improving access to, as well as exploitation and preservation
of the European printed heritage in the hand-press period (up to c.
1830). The organisation was formed in 1992 on the initiative of
research libraries in many European countries and legally came into
being in June 1994.

Panel discussion: Scholars discuss their experiences of working with digitisation products, and how features such as access, content selection, licensing restrictions, and product design impact on their research. Panel chair: Andrew Prescott (King’s College, London).16.30 - 16.45

viernes, 26 de octubre de 2012

LECTIO, Leuven Centre for the study of the
transmission of texts and ideas in Antiquity, the Middle Ages and the
Renaissance.

Leuven, 6-7 December 2012

Location: The Leuven Institute for Ireland in Europe.

PROGRAM

6 December 2012

09.45JAN PAPY (Leuven). Welcome and Introduction.10.15JACQUELINE HYLKEMA (Leiden). The Forgery of Isaac Casaubon’s Name: Authority and The Originall of Idolatries.10.45 Discussion11.00 Break11.30 KATIE EAST (London). The Fate of the Pridie: Tracing the Decline of Manuscript Authority.12.00 JOAN CARBONELL MANILS & GERARD GONZÁLEZ GERMAIN (Barcelona).Causes, Opportunities and Methods in the Falsification of Roman Epigraphy in Renaissance Spain. The Case of the Tetrarchs’ Inscriptions.14.00 ROBERT LEIGH (Exeter). Is On Theriac to Piso a Forgery?14.30 CHRISTINA SAVINO (Berlin). Galen’s Commentary on Hippocrates’ De humoribus (1562-3): The Making of a Forgery.16.00 MIRKO CANEVARO (Edinburgh/Mannheim). The documents in the Attic orators: early antiquarians and unintentional forgers.16.30 LUIGI SILVANO (Roma). Four medieval forged orations of Aeschines, Demades and Demosthenes and their Renaissance afterlife.

Public keynote lecture19.30 ANTHONY GRAFTON (Princeton University). Annius of Viterbo and the Jews.

7 December 2012

9.30 ANGELA ULACCO (Leuven). The creation of authority in Pseudo-Pythagorean texts and their reception in late ancient philosophy.10.00 FELIX RACINE (St Andrews). Pseudo-Plutarch’s On Rivers and the school tradition.11.30 FREDERIK KEYGNAERT (Leuven). The Records of the Council of Limoges (1031) by Ademar of Chabannes: Forgery at the Service of Episcopal Authority.12.00 EARLE HAVENS (Johns Hopkins University, Baltimore). Bibliotheca Fictiva: A Library of Forgeries from Antiquity to the Renaissance.14.00 GEORGES DECLERCQ (Brussels). The Paschal Controversy and the Authority of the Church of Alexandria: Latin Pseudepigraphical Writings Attributed to Athanasius, Cyrillus and Other Patriarchs in the Early Medieval West. 14.30 CHRISTIAN MÜLLER (Erlangen-Nürnberg). Rufinus versus Jerome in the falsification affair.15.00 LIEVE VAN HOOF (Göttingen). Who scores the own goal? The supposed correspondence between Basil and Libanius.

LECTIO, Leuven Centre for the study of the
transmission of texts and ideas in Antiquity, the Middle Ages and the
Renaissance.

Round tables "Laboratory
for critical text editing".

19, November, 2012.

The role played by ancient, medieval and Renaissance scholarship in the
process of canonization, preservation (or destruction) and
transformation of our literary heritage cannot be overemphasized. But to
what extent does it influence still our way of dealing with ancient and
medieval texts? To what extent are the editors of today putting their
feet into the footsteps of their remote predecessors (or climbing on
their shoulders, as it has often been said)? Scholars of the past and
those of today are working with drastically different tools, in
different cultural environments, with different constraints, using
different methods for different goals. And yet our scholarly work
(editions, studies...) today still very much depends upon what
Alexandrian philologists, medieval erudite monks, and Renaissance
humanists have done.